By Dave Hoing.

You can’t harvest a crop without killing something. A combine ain’t particular, it cuts whatever’s in its path. There’s no malice in it, just a part of the season, like rain and heat. Food or nesting draws critters in, but come harvest the combine keeps rolling. Some run and live. Others don’t, and don’t.

By H.P. Lovecraft.

I hate the moon--I am afraid of it--for when it shines on certain scenes familiar and loved it sometimes makes them unfamiliar and hideous.

By Stefanie Freele.

Stu is driving to South Lake Tahoe to take his post-partum-strained woman to the snow, to take his nine-week-old infant through a storm, to take his neglected dog in a five hour car ride, and to take himself into his woman's good graces. And he's hungry. Even though Stu has considered, more than once, stopping the car on the whitened highway and plunging himself over a cliff so he could plop into a cozy pile of snow and hide until his wife is logical again or the baby is able to tend to itself, he's not dressed warmly enough for months or years in a snowbank, he has no snacks in his jacket, and he must focus on The Family.

By Eric Garcia.

Dr. Albrecht woke from his afternoon nap to find himself on fire. At least, that's how it felt: like someone had taken an acetylene torch and given his body a good talking-to. In the seconds it took him to wake, scream, and leap from the cot, tearing off his nightshirt and batting wildly at flames that, to his surprise, did not seem to exist, Albrecht came to the conclusion that the source of his agony went deeper than a bit of charred flesh.

His reflection in the bathroom mirror gave him his first clue: his skin shimmered. . . .

By Suzanne Vincent.

I'm in Hell. That must be what this is. I can't fathom a god who would possibly interpret this as heaven, crammed in this damned steamer trunk; me and twenty three other Wayang Kulit shadow puppets, entombed with the smell of ox hide and musty bamboo.

By Bruce Holland Rogers.

Next to the casket, I leaned on my cane and admired the work my brother practitioners had done on Elizabeth Fordham Roth. She had died at 80, but she did not look a day over 60 and might have only been sleeping. Physical reconstruction. Cosmetics. Those are the easier mortuary arts. It is the work of an afternoon to sew eyelids shut with invisible stitches, to close a slack jaw, to smooth out wrinkles and rouge pallid cheeks back to seeming life. My branch of the discipline is far more subtle and is never finished in a single afternoon.